Archive for Dave Kehr

In Every City There Is One Man

Posted in FILM with tags , , , , , , , , , , , on July 9, 2016 by dcairns

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One of the standouts at Bologna was Dave Kehr’s series of films produced by Carl Laemmle Jnr., lesser-known movies excluding the James Whale horror masterpieces. Pal Fejos’ LONESOME was likewise left out in favour of the slightly more obscure, flawed BROADWAY and also the bizarre, grotesque and highly entertaining KING OF JAZZ, which Fejos worked on in some unspecified capacity (perhaps explaining why both those films feature outsize figures Godzilla-cavorting down miniature New York streets). Dave mentioned, though, that LONESOME is the real masterpiece, and I remembered that I own Criterion’s Blu-ray and hadn’t watched it.

BROADWAY is a tricky early talkie, given the stilted nature of much of the dialogue delivery (“new-minted clichés” as Mark Fuller put it). It’s a backstage musical gangster story, in which the musical numbers, staged on a cavernous sound stage, were shoehorned in at Fejos’ behest. Spectacular in themselves, thanks to the towering sets and the elaborate crane shots, they slow the narrative down even further than the flaccid speech. Any movie where Evelyn Brent gives the best performance is arguably in trouble. But Fiona was very taken with the slow-talking detective, Thomas E. Jackson, who actually drawls like he’s parodying an early talkie. It’s disconcerting to find Jackson actually had a long career, and was seen in other film. Hell, it’s disconcerting to find he wasn’t a hallucination.

The movie is a combination of pleasures and irritants, and in the irritant camp fall the two lead performances. Both characters are written as dopes — Merna Kennedy redeemed herself elsewhere in the fest with a spirited turn in LAUGHTER IN HELL (“He’s ma maan!”)– Glenn Tryon redeems himself in LONESOME. In BROADWAY he’s so whiny, insecure, yet at the same time obnoxiously egotistical, like a tap-dancing George Costanza, it actually takes a while to get used to how effective he is in LONESOME.

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One of the delights of Bologna was seeing actors in contrasting roles — Pat O’Brien yaps a very precise Lee Tracy impersonation in THE FRONT PAGE, yet walks through LAUGHTER IN HELL like a man in a dream (he can maintain audience sympathy after committing a double murder because his somnambular perf makes clear that he isn’t responsible — for anything), and see above for Merna Kennedy’s development. Barbara Kent isn’t so versatile, playing ingenues in both LONESOME and FLESH AND THE DEVIL. She’s cuter in modern dress, though, and can hold more interest when not competing with a young, newly-styled Garbo.

LONESOME experiments with model shots, location filming, camera movement, sound, dialogue and colour — there’s stencil painting and some kind of dye process which tints the highlights one hue and the shadows another. Fejos is running amuck, and the slender story is the perfect vehicle for such stylistic exuberance. Think THE LAST LAUGH: small-scale stories can sometimes support colossal artistic ebullience.

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LONESOME is a magnificent one-off — I wish the part-soundie era had lasted another five years. When the two leads abruptly start speaking to each other in live sound on the beach at Coney Island, the jarring transition from one medium to another is beautiful. You can’t get that in a perfect film, only in a makeshift masterpiece like this one, a superproduction assembled on shifting sands. When the film reaches its tearful conclusion, sudden nitrate decomposition afflicts the footage, with PERFECT artistic timing — it drives home the fragility of what we’ve been watching.

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Are you now or have you ever been a romantic?

Posted in FILM with tags , , , , , , , , on November 22, 2008 by dcairns

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THE RIVER.

One of my favourite books, or two of them, is Richard Roud’s two-volume Cinema: A Critical Dictionary – The Major Filmmakers, which has a nice piece on Borzage by Andrew Sarris, probably the first thing I ever read on F.B. I suspect I first turned to it after seeing those awesome clips from SEVENTH HEAVEN in A Journey With Martin Scorsese Through American Movies, which blew my mind long before I was able to see MOONRISE.

Sarris quotes “David” (more usually Dave) Kehr as saying “MOONRISE [1948] is the last film Frank Borzage completed before the blacklist forced him into a ten-year period of inactivity.” (Borzage in fact directed some television in 1955 and 1956.) This remark, in the Spring 1973 issue of Focus! was apparently the first mention of Borzage in connection with blacklisting. It makes sense though, since Borzage was the embodiment of what HUAC called “premature anti-fascism”, having attacked the Nazi party in LITTLE MAN, WHAT NOW?, THREE COMRADES and THE MORTAL STORM, an informal trilogy covering the history of Germany between the wars, and STAGE DOOR CANTEEN, an innocent-seeming morale-booster features an appearance by some, apparently real, Russian soldiers who are celebrated (by Sam Jaffe) for having “exterminated” the Germans at Stalingrad. (An incredibly glamorous fighting woman grimly intones that should she face another German, “My hand will not tremble.”) This is certainly the kind of thing that could cause a filmmaker career problems further down the line.

Annoyingly, confirmation of Kehr’s claim is thin on the ground — even Sarris seems unsure how seriously to take it, and the Disgustingly Expensive Borzage Book seems to dismiss the idea. It’s been suggested that Borzage may have been banned from the studios because of his drinking problem rather than his political affiliations — more blackballed than blacklisted. There’s also the possibility that illness, particularly depression, stopped Borzage working, and the blacklisting was a figment of Kehr’s imagination or a glitch in his research.

I hoped to confirm Kehr’s remark, using the excellent documentary series THE RKO STORY — I clearly recalled Borzage’s name appearing on an actual blacklist. A black list. A list that is positively black. Legal proof, I thought. A frame grab of a DVD-R of a 16mm film of a document — what could be more legally binding?

Strangely though, when I scanned the show to find the name, it wasn’t there. A hallucination. A figment. Odd!

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Maybe somebody could ask Dave Kehr if he has further information?

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